- DATE : 14/10/2020 16/11/2020
- TIME : 12:00–13:30
- VENUE : Online Event
Taiwan Academy Lecture
Tomorrowland
Lecture by Professor Yuan Goang-Ming
Born in Taipei, Taiwan in 1965
Now lives and works in Taipei, Taiwan
A pioneer of video art in Taiwan, Yuan Goang-Ming has worked with video since 1984, and is now one of the foremost Taiwanese artists active in the international media art circle. He received a master’s degree in media art from the Academy of Design, Karlsruhe Germany (1997), and currently holds a post as professor of the new media art department of the Taipei National University of Arts.
Combining symbolic metaphors with technological media, his work expresses the state of contemporary existence, and explores the human mind and consciousness. He received the 13th Hsiung-Shih Art Award for the Best New Artist for his video and sculptural work Out of Position (1987) while he was still in art school in 1988. In 1992, his work Fish on a Dish garnered great acclaim in the Taiwanese art circle, and received the First Prize of the Taipei County Arts Award, while The Reason for Insomnia (1998) received the Jury Prize of the 1st Digital Art Festival. His “City Disqualified” series (2002) holds an important place in the history of Taiwanese contemporary media art.
Disappearing Landscape (2007) opens with a new format of moving images, combining video art and cinema, displaying the fascinating, theatrical everyday in three-channel video installations. The 2011 exhibition Before Memory continues his exploration of the idea of “home” and expands such exploration into ruins and nature, in a diverse array of large-scale installations about time and memory, the body and perception. His 2014 solo exhibition An Uncanny Tomorrow questions the environment we inhabit in a globalized context, pondering the anxieties and apprehensions of modern people. This exhibition received the Exhibition of the Year of the 13th Taishin Arts Award. The 2018 solo exhibition Tomorrowlandpivots around the idea that home in the future is no longer solid. The works are centered on the normalization and everydayness of warfare, embodying modern-day existence and human despair. The exhibition was also invited to the Hayward Gallery in London in 2018.
Yuan has participated in various exhibitions across Asia, Europe, and America. Among these include: Aichi Triennale (2019); Beyond Bliss: Bangkok Art Biennale (2018); Biennale de Lyon: La Vie Moderne, France (2015); Fukuoka Asian Art Triennale, Japan (2014); the 7th Asia Pacific Triennial of Contemporary Art, Australia (2012); Singapore Biennale (2008); Liverpool Biennial, U.K. (2004); Auckland Triennial, New Zealand (2004); Taiwan Pavilion at the 50th Venice Biennale, Italy (2003); the 2nd Seoul International Media Art Biennale, Korea (2002); 010101: Art in Technological Timesat the San Francisco Museum of Modern Art (2001); ICC Biennial, Japan (1997), and Taipei Biennial (2002,1998, 1996).
His work is housed in public and private collections of art museums and institutions at home and abroad. He has also been on the Collections Committee of the Taipei Fine Arts Museum, and a juror of the Taipei Arts Award, Taipei County Arts Award, Public Art, Venice Biennale (Taiwan Pavilion), and Asia Society Arts Award in the United States.
1965年生於台灣台北
現居住、工作於台灣台北
袁廣鳴是早期台灣錄像藝術的先鋒，自1984年開始從事錄像藝術創作，也是目前台灣活躍於國際媒體藝術界中知名的藝術家之一。1997年畢業於德國卡斯魯造型藝術學院，獲得媒體藝術碩士學位。目前任教於國立台北藝術大學新媒體藝術學系教授。
他的作品以象徵隱喻、結合科技媒材的手法，深刻傳達出人們當下的生存狀態，並且對人的感知及意識有著極具詩意的深入展現。1988年在校期間即以錄像雕塑作品《離位》獲得第13屆雄獅美術新人獎的佳作；1992年的錄像裝置作品《盤中魚》展出後，隨即獲得台灣藝術圈高度肯定並獲得台北縣美展首獎；1998年的互動裝置《難眠的理由》則榮獲第一屆「數位藝術紀」的評審特別獎；2002年「人間失格」系列作品更奠定了在台灣當代媒體藝術界中不可動搖的地位。
2007年《逝去中的風景》三頻道錄像裝置，開始以個人的「居家日常」及「廢墟」開創出一種迷人的劇場式日常。2011年個展「在記憶之前」，持續對於「家」的探討，並擴及到「廢墟及自然」的領域，更以多元形式呈現以「時間與記憶」、「身體與感知」為主題的大型系列創作。2014年個展「不舒適的明日」由「家」的議題延伸至當今在全球化底下的在地生存處境的探問，思辨現代人的困頓與憂懼；此展並榮獲第13屆台新藝術獎「年度最佳展覽入選獎」。在2018年個展「明日樂園」中，直指未來的家已不再是穩固的概念，作品環繞著「戰爭的日常化」與「日常的戰爭」為主軸，呈現當代的生存狀態及不安。此展並於2018年受邀於英國海沃德美術館展出。
袁廣鳴受邀參與大型國際展覽不勝枚數，其中包括「愛知三年展」（2019）、「第一屆曼谷藝術雙年展」（2018）、「法國里昂雙年展」（2015）、「福岡亞洲藝術三年展」（2014）、「澳洲亞太當代藝術三年展」（2012）、「新加坡雙年展」（2008）、「英國利物浦雙年展」（2004）、「紐西蘭奧克蘭三年展」（2004）、「第50屆威尼斯雙年展」台灣館（2003）、「漢城國際媒體藝術雙年展」（2002）、美國舊金山現代藝術美術館的「01.01: Art in Technological Times」（2001）、「日本ICC1997媒體藝術雙年展」（1997）、「台北雙年展」（2002、1998、1996）等。
作品也受多所國內外美術館典藏，也曾擔任台北市立美術館典藏委員、台北獎、台北縣美獎、公共藝術、威尼斯雙年展台灣館，及美國亞洲協會美術獎評審等
Abstract
Since the “City Disqualified” series in 2000, I have attempted to manifest Taiwan as a typical hybrid city that constantly mutates against its unique historical and political background, or to manifest a state of being where Taiwan is impossible to define or locate. “The place of ideal perfection must be elsewhere, not here.” Home has become a fluid and fragile concept. Hence, from 2007 to 2011, I attempted to capture the quotidian nature of “home” through an autobiographical and theatrical approach in the “Disappearing Landscape” series.
My solo exhibition Tomorrowland (2018) continues to explore the themes in An Uncanny Tomorrow (2014 solo exhibition), expanding from the environment where we live to the world at large. With the resurgence of the Cold War and populist ideologies, the threat of imperialism and terrorism, and drastic environmental changes, a home for tomorrow and into the future is no longer a stable concept. Pivoting around “everyday warfare,” Tomorrowland consists of works that are closely interconnected: from the blinding flash of light that symbolizes a nuclear explosion, to the air raid drills that continue post-martial law; from Disneyland representing globalization, the “non-place,” and imperial capitalism, to transnational migrant workers in search of a better life — all in an attempt to echo the anxieties and apprehensions of our convoluted world. Now in retrospect of my earliest video works in 1985 and 1987[1], it seems as though my practice has come full circle.
For the past 35 years, I have contemplated “the possibilities of the image,” and have experimented with various media in my practice. The works Towards Darkness and Towards Light on view in Tomorrowland solo exhibition are my latest creative attempts: an utterly dark space and an entirely white space, both are my ultimate reflections on the nature of the image. Simultaneously, they demonstrate the possibilities of “human corporeal perception and experience of the image” and “immersive live exhibition.”
By removing all “imagery” in Towards Darkness, I attempt to conjure the earliest nether state of human existence. This primordial state of being is like floating directionless in the sea; or as though entering a black hole. However, in the progression toward that black hole, we are perhaps able to confirm our existence from within. Like Heidegger’s reversal of Plato’s Allegory of the Cave, using darkness to represent phenomena, and using illumination to represent essence (ideology), he attempted to tell us we had always lived in darkness; but a candle was lit and we began to pursue illumination in our quest for home and hearth. In our growing obsession with illumination, we have forgotten that home has always been in the dark.[2]
演講摘要
自2000年開始，在「城市失格」系列作品中，我試圖呈現台灣在特殊的歷史與政治時空背景下，一個典型混種並隨時更改自身面貌的城市，或者說是一個無法描述自己、不知身處何處的狀態。「理想的地方一定是在他方，而不是此地」，「家」成為一種流動且脆弱的概念；於是在2007年至2011年「逝去中的風景」系列以微型自傳及劇場的方式，展現「家」的日常。
「明日樂園」（2018個展）延續著「不舒適的明日」（2014個展）的主軸，自我們所處的環境擴大至我們所處的世界；而隨著冷戰及民粹主義的復甦、帝國及恐怖主義的威脅及嚴峻的環境變遷，未來明日的家已不再是穩固的概念。在「明日樂園」的個展裡，作品以「戰爭的日常化」與「日常的戰爭」為主軸，並試著讓每件作品互為文本：從象徵核爆的強光；解嚴之後仍持續的演習；象徵全球化、「非地方」（non-place）、帝國資本主義的迪士尼遊樂園；及尋找更好生活的跨國移工，試圖描述我們所處的難解世界的焦慮及不安。至此，回顧我1985及1987年最早的錄像作品[1]，35年後至今的創作核心似乎如同一個循環，又回到了原點。
35年來不斷地思考關於「影像的可能」，也歷經不同媒體的嘗試及實踐。2018個展的《向黑》及《向光》作品，是個全新的創作經驗：一個全黑的空間，一個全白的空間，皆是我對於影像本質的終極反問；同時論證我對於「影像的身體感知經驗」及「體驗式的裝置展演」的可能。
在《向黑》裡去除所有的「影像」，試圖回到人最初始的幽冥狀態。這幽冥的原初狀態，猶如漂浮在毫無方向感的大海之中；或著，猶如進入一個黑洞之中。不過，在邁向這黑洞的過程中，可能可以讓自己從內部、私密地確認我們的存有；就如同海德格當初反轉柏拉圖的洞穴比喻，以黑暗象徵現象，以光明象徵本質（理念）並曾試圖告訴我們：我們原本就生活在黑暗之中，為了尋找家園，我們點亮了蠟燭，追逐光明，但愈來愈執著於光明，忘了我們的家其實就在黑暗之中[2]。
[1] In my first single-channel video work About Millet’s The Angélus (1985), the video was filled with suspicion for the wonderful scenes presented in The Angélus and an inexplicable atmosphere of unease. Out of Position(1987) is my first video installation work.
我的第一件單頻道錄像作品《關於米勒的晚禱》（1985），在影片裡充滿了對《晚禱》所呈現的美好景象的懷疑及莫名不安的氣氛。1987年我的第一件錄像裝置《離位》。
[2] Heidegger outlines his reinterpretation of Plato’s cave allegory in his book The Essence of Truth: On Plato’s Cave Allegory and Theaetetus, published by Continuum, 2002海德格在《論真理的本質︰柏拉圖的洞喻和〈泰阿泰德〉講疏》（The Essence of Truth: On Plato’s Cave Allegory and Theaetetus, Continuum出版發行，2002）一書中表達了與柏拉圖「洞穴論」相反的觀點。